Terence Lancashire
Biographic Data
| ID | 1352143 |
|---|---|
| NAME | Terence Lancashire |
| GIVEN NAMES | Terence |
| FAMILY NAME | Lancashire |
| SIGNATURE | LANCASHIRE T |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
A Response—Gagaku in Place and Practice
A Response—Gagaku in Place and Practice:A Philosophical Inquiry into the Place of Japanese Imperial Court Music in Contemporary Culture Terence Lancashire (bio) LeRon James Harrison's article "Gagaku in Place and Practice: A Philosophical Inquiry into the Place of Japanese Imperial Court Music in Contemporary Culture" (Harrison 2017, 4–27) aims to redress a perceived imbalance between the treatment of gagaku 雅楽 and other traditional forms of Japa…
An Introduction to Japanese Folk Performing Arts
Japanese folk performing arts incorporate a body of entertainments that range from the ritual to the secular. They may be the ritual dances at Shinto shrines performed to summon and entertain deities; group dances to drive away disease-bearing spirits; or theatrical mime to portray the tenets of Buddhist teachings. These ritual entertainments can have histories of a thousand years or more and, with such histories, some have served as the inspirat…
J-Pop’s Elusive “J”
In the following article, Terry Lancashire attempts to pin down what might be specifically Japanese in J-pop – “whether a ‘J’ in fact exists in J-pop” (PAGE), and explores language, melody and subject matter in a select song corpus. The range of styles explored is quite considerable, so it is not surprising when an attempt to pin down specific musical characteristics evades generalisation, and leads to the conclusion that ultimately performer ide…
What's in a Word
The study of Japanese folk performing arts in the latter half of the twentieth century was dominated by the figure of Honda Yasuji. Honda's immense contribution to Japanese folk performing arts studies was not only evident in his voluminous accounts but also in the classification system he devised, which attempted to organize the wide variety of performance forms. The classification still remains the predominant perspective today but has not been…
From Spirit Possession to Ritual Theatre-A Potential Scenario for the Development of Japanese Kagura
The Japanese goddess Arne no Uzume no Mikoto bound up her sleeves with a chord of heavenly pi-kage vine, tied around her head a head-band of the heavenly masaki vine, bound together bundles of sasa leaves to hold in her hands, and overturning a bucket before the heavenly rock-cave door, stamped resoundingly upon it. Then she became divinely possessed, exposed her breasts, and pushed her skirt-band down to her genitals. (Philippi 1968:84)This desc…
World music or Japanese - the gagaku of Tôgi Hideki
The term 'world music' usually conjures up images of musics from 'remote' corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,…
Kagura" - A "Shinto" Dance? Or Perhaps Not
L'A. examine les differentes influences historiques qui ont porte leur empreinte sur la tradition theâtrale kagura au Japon, influences qui ont contribue a sa conception, determinant sa forme aussi bien que son contenu. Il centre son analyse sur la forme regionale du kagura Iwami. Cependant, afin de demontrer l'etendue et la nature de ces influences, il examine egalement la danse miko mai, qui represente la forme la plus ancienne et la plus repan…
Music for the Gods
L'iwami kagura est une forme musicale et theâtrale originaire de l'ile de Honshu (Japon). Il s'agit d'une combinaison de chants, de danse et de theâtre presentee generalement dans les temples shinto et destinee aux divinites. Cet article a pour objet l'etude de la transmission musicale et de la stabilite de l'iwami kagura, a travers le temps, dans la region occidentale de Shimane. L'A. montre finalement que ce genre artistique est un des plus ric…
World music or Japanese - the gagaku of Tôgi Hideki
The term 'world music' usually conjures up images of musics from 'remote' corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,…
Kagura" - A "Shinto" Dance? Or Perhaps Not
L'A. examine les differentes influences historiques qui ont porte leur empreinte sur la tradition theâtrale kagura au Japon, influences qui ont contribue a sa conception, determinant sa forme aussi bien que son contenu. Il centre son analyse sur la forme regionale du kagura Iwami. Cependant, afin de demontrer l'etendue et la nature de ces influences, il examine egalement la danse miko mai, qui represente la forme la plus ancienne et la plus repan…
Music for the Gods
L'iwami kagura est une forme musicale et theâtrale originaire de l'ile de Honshu (Japon). Il s'agit d'une combinaison de chants, de danse et de theâtre presentee generalement dans les temples shinto et destinee aux divinites. Cet article a pour objet l'etude de la transmission musicale et de la stabilite de l'iwami kagura, a travers le temps, dans la region occidentale de Shimane. L'A. montre finalement que ce genre artistique est un des plus ric…
Music for the Gods
L'iwami kagura est une forme musicale et theâtrale originaire de l'ile de Honshu (Japon). Il s'agit d'une combinaison de chants, de danse et de theâtre presentee generalement dans les temples shinto et destinee aux divinites. Cet article a pour objet l'etude de la transmission musicale et de la stabilite de l'iwami kagura, a travers le temps, dans la region occidentale de Shimane. L'A. montre finalement que ce genre artistique est un des plus ric…
Kagura" - A "Shinto" Dance? Or Perhaps Not
L'A. examine les differentes influences historiques qui ont porte leur empreinte sur la tradition theâtrale kagura au Japon, influences qui ont contribue a sa conception, determinant sa forme aussi bien que son contenu. Il centre son analyse sur la forme regionale du kagura Iwami. Cependant, afin de demontrer l'etendue et la nature de ces influences, il examine egalement la danse miko mai, qui represente la forme la plus ancienne et la plus repan…
World music or Japanese - the gagaku of Tôgi Hideki
The term 'world music' usually conjures up images of musics from 'remote' corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,…
From Spirit Possession to Ritual Theatre-A Potential Scenario for the Development of Japanese Kagura
The Japanese goddess Arne no Uzume no Mikoto bound up her sleeves with a chord of heavenly pi-kage vine, tied around her head a head-band of the heavenly masaki vine, bound together bundles of sasa leaves to hold in her hands, and overturning a bucket before the heavenly rock-cave door, stamped resoundingly upon it. Then she became divinely possessed, exposed her breasts, and pushed her skirt-band down to her genitals. (Philippi 1968:84)This desc…
What's in a Word
The study of Japanese folk performing arts in the latter half of the twentieth century was dominated by the figure of Honda Yasuji. Honda's immense contribution to Japanese folk performing arts studies was not only evident in his voluminous accounts but also in the classification system he devised, which attempted to organize the wide variety of performance forms. The classification still remains the predominant perspective today but has not been…
J-Pop’s Elusive “J”
In the following article, Terry Lancashire attempts to pin down what might be specifically Japanese in J-pop – “whether a ‘J’ in fact exists in J-pop” (PAGE), and explores language, melody and subject matter in a select song corpus. The range of styles explored is quite considerable, so it is not surprising when an attempt to pin down specific musical characteristics evades generalisation, and leads to the conclusion that ultimately performer ide…
An Introduction to Japanese Folk Performing Arts
Japanese folk performing arts incorporate a body of entertainments that range from the ritual to the secular. They may be the ritual dances at Shinto shrines performed to summon and entertain deities; group dances to drive away disease-bearing spirits; or theatrical mime to portray the tenets of Buddhist teachings. These ritual entertainments can have histories of a thousand years or more and, with such histories, some have served as the inspirat…
A Response—Gagaku in Place and Practice
A Response—Gagaku in Place and Practice:A Philosophical Inquiry into the Place of Japanese Imperial Court Music in Contemporary Culture Terence Lancashire (bio) LeRon James Harrison's article "Gagaku in Place and Practice: A Philosophical Inquiry into the Place of Japanese Imperial Court Music in Contemporary Culture" (Harrison 2017, 4–27) aims to redress a perceived imbalance between the treatment of gagaku 雅楽 and other traditional forms of Japa…
Art (8 works) · Literature (7 works) · History (6 works) · Asian Culture and Media Studies (5 works) · Japanese History and Culture (4 works) · Visual arts (4 works) · Music History and Culture (3 works) · Musical (3 works) · Philosophy (3 works) · Aesthetics (2 works)